Like all mothers, Emily Rapp had ambitious plans for her first and only child, Ronan. He would be smart, loyal, physically fearless, and level-headed, but fun. He would be good at crossword puzzles like his father. He would be an avid skier like his mother. Rapp would speak to him in foreign languages and give him the best education. But all of these plans changed when Ronan was diagnosed at nine months old with Tay-Sachs disease, a rare and always-fatal degenerative disorder. Ronan was not expected to live beyond the age of three; he would be permanently stalled at a developmental level of six months. Rapp and her husband were forced to re-evaluate everything they thought they knew about parenting. They would have to learn to live with their child in the moment; to find happiness in the midst of sorrow; to parent without a future. The Still Point of the Turning World is the story of a mother’s journey through grief and beyond it. Rapp’s response to her son’s diagnosis was a belief that she needed to “make my world big”—to make sense of her family’s situation through art, literature, philosophy, theology and myth. Drawing on a broad range of thinkers and writers, from C.S. Lewis to Sylvia Plath, Hegel to Mary Shelley’s Frankenstein, Rapp learns what wisdom there is to be gained from parenting a terminally ill child. In luminous, exquisitely moving prose she re-examines our most fundamental assumptions about what it means to be a good parent, to be a success, and to live a meaningful life.

The healing arts involve a complex range of skills which each practitioner draws together in a unique way. These skills, attitudes and perspectives complement the scientific basis underpinning each discipline to create the wisdom and artistry of any therapeutic approach. The practice of osteopathy is no exception. It involves a growing field of scientific knowledge in physics and biology that couples with an extraordinary range of human qualities to give the work depth, as well as relevance, and which can be tailored to the individual patient holistically and with compassion. At the Still Point of the Turning World examines and explores both the art and the science of osteopathy through the eyes and approach of a devoted teacher and practitioner. The true value of holism, vitalism and osteopathic principles are discussed as part of the approach that each practitioner brings to the patient/practitioner relationship.

In Aristotle’s Ever-turning World in Physics 8 Dougal Blyth analyses, passage by passage, Aristotle’s reasoning in his explanation of cosmic movement, and provides a detailed evaluation of ancient and modern commentary on this centrally influential text in the history of ancient and medieval philosophy and science. In Physics 8 Aristotle argues for the everlastingness of the world, and explains this as deriving from a single first moved body, the sphere of the stars whose rotation around the earth is caused by an immaterial prime mover. Blyth’s explanation of Aristotle’s individual arguments, techniques of reasoning and overall strategy in Physics 8 aims to bring understanding of his method, doctrines and achievements in natural philosophy to a new level of clarity.

It is the task of the IIAS and the UNDESA to track and focus on changes in the atmosphere of world governance and public administration. This work shows that a new prestige has been earned by public servants, who are performing a public good, and who are in the centre of the turning world.

Honorable Mention, 2024 Gordon K. and Sybil Lewis Award, Caribbean Studies Association In the first half of the twentieth century, Black hemispheric culture grappled with the legacies of colonialism, U.S. empire, and Jim Crow. As writers and performers sought to convey the terror and the beauty of Black life under oppressive conditions, they increasingly turned to the labor, movement, speech, sound, and ritual of everyday “folk.” Many critics have perceived these representations of folk culture as efforts to reclaim an authentic past. Imani D. Owens recasts Black creators’ relationship to folk culture, emphasizing their formal and stylistic innovations and experiments in self-invention that reach beyond the local to the world. Turn the World Upside Down explores how Black writers and performers reimagined folk forms through the lens of the unruly—that which cannot be easily governed, disciplined, or managed. Drawing on a transnational and multilingual archive—from Harlem to Havana, from the Panama Canal Zone to Port-au-Prince—Owens considers the short stories of Eric Walrond and Jean Toomer; the ethnographies of Zora Neale Hurston and Jean Price-Mars; the recited poetry of Langston Hughes, Nicolás Guillén, and Eusebia Cosme; and the essays, dance work, and radio plays of Sylvia Wynter. Owens shows how these figures depict folk culture—and Blackness itself—as a site of disruption, ambiguity, and flux. Their works reveal how Black people contribute to the stirrings of modernity while being excluded from its promises. Ultimately, these works do not seek to render folk culture more knowable or worthy of assimilation, but instead provide new forms of radical world-making.